Ewan Jones Morris and Casey Raymond have been making videos for John Grant since his first solo album Queen Of Denmark came out more than a decade ago. It's been a remarkable collaboration, resulting in some of the weirdest, wackiest and darkly humourous videos ever made by a sensitive singer-songwriter from North America.Something about Grant's deeply personal lyrics and mordant sense of humour brings out the best of a couple of Welshmen with a taste for the iconoclastic, irreverent and deeply absurd. Their latest, for the title track from his latest album Boy From Michigan, is fully in the tradition of the likes of Marz, Global Warming, and particularly, He's Got Your Mothers Hips, where Casey & Ewan recruited a small army of leftfield animation talent from across the globe to reinterpret John's performance in a variety of ways.As with Mother's Hips, there are a variety of animation styles here, but more focussed on illustrating the coming-of-age tale in Grant's lyrics, about the boy living a sheltered suburban life, about to set out into the big, bad world.It includes some wonderful graphic elements - from the Robert Williams's drag-racer-style opening animation, to nightmarish morphing, Punch & Judy-style puppetry, painted stock footage, animated paintings and more - created by Jones Morris and Raymond themselves, with Jenny Jokela, Marcos Sánchez and Peter Raymond.

Ed Bulmer directs a surreal, multi-format video for Declan McKenna's new song that focusses on the hypocrisy of the British arms trade.The themes are brought to life by a selection of purposely rudimentary puppets, who go about their day-to-day lives in total ignorance of what the country is doing behind the scenes. That becomes clearer with the addition of animation and stock footage, and a series of creepy, real life closeups of facial features to hammer home the point that the UK's arms trade policy has unforgiveable consequences.Declan McKenna says: “I wanted to write a song that was outright against war, in any form. Violence breeds violence and I just don’t think the world is too complex to set a peaceful precedent, but it seems the business of war is what keeps happening. To say it’s a shame feels like a huge understatement.”Declan is donating all profits made from the single to charity.

Metronomy frontman Joseph Mount's second video for the band, following the recent Lately, is a dancefloor-ready comedy about gentrification and ice cream.The visual stars Metronomy’s members as an ice cream vendor, his fluffy partner, their 80s trendy focus-group rivals, who open a rival gelato stand, and a parlour band - and all is revealed about the unlikely emergence of salted caramel ice cream.The lighthearted, and lo-fi vibe has the cuddly artifice of little kids' TV shows like The Hoobs and The Tweenies (perhaps with a dash of peerless kids TV spoof, Don't Hug Me I'm Scared). But perhaps surprisingly, Mount cites Rammstein as the influence for his "lolathon” visual. “Years ago a friend of mine gave me a VHS tape of the MTV show 120 Minutes,” said Mount of the video’s inspiration. “It’s something I’d get him to do every so often as I was a bit obsessed with music TV at the time. On one particular tape was the video for ‘Sonne’ by Rammstein, I’d never seen them before and it blew my mind. This video is a sort of homage to that, but with an added story about the gentrification of ice cream parlours.”

Jam Baxter, Rag'n'Bone Man and OG Rootz go for a meal at a local restaurant where the maitre 'd - played by Perry Benson - promises them extraordinary delicacies. And, in a way, he's right...Gustav and Myles of Broken Antenna dish up an appetising comic-horror for Mask, where unspeakably monstrous plates of obscure seafood - that's mostly still breathing - has a grim effect on the pallor and constitutions of the three rappers.The imaginative display of dishes - always just too disgusting to consider that it's real food - has been created with a very impressive combination of work by art director Jen Gardiner, 'food styling' by Huw Caddy and Matthew Harris, puppetry and modelmaking by Emily Morus-Jones, prosthetics by Cesar Alonso, and post work at Cranrust VFX. Very tasty.